Photo reblogged from physicist, original score composer with 32 notes
姫ペンダント☆キランキラン
Source: metmuseum.org
Photo reblogged from love child of venus with 545 notes
Lady Sarah Forbes Bonetta Davies (photographed by Camille Silvy, 1862) She was born into a royal West African dynasty, and was orphaned in 1848, when she was around five years old, when her parents were killed in a slave-hunting war. In 1850, Sarah was taken to England and presented to Queen Victoria as a “gift” from the King of Dahomey. She became the “Queen’s Goddaughter” and a celebrity known for her extraordinary intelligence…
Source: soulmahogany
Post reblogged from Stuff & Things with 33,158 notes
The largest cave in the world is in Vietnam and has its own forests and clouds inside of it!
its magic!
Fern Gully is real!!!!
Source: did-you-kno
Quote reblogged from Eating Done Right ;) with 328 notes
Only psychos and shamans create their own reality
Source: dimensionalflow
Photo reblogged from märƒmεℓℓow with 286 notes
![micropolisnyc:
In the 1800s, part of the West Village was known as “Little Africa, or less kindly as Coontown,” writes John Strausbaugh in his fascinating new book “The Village: 400 Years of Beats and Bohemians, Radicals and Rogues, a History of Greenwich Village.”
“Little Africa also drew free blacks and ‘mulattoes’ who’d come to New York from the West Indies. Often better educated and with more skills than the city’s freed slaves, some of them thrived, within the limits imposed on them. One [William Henry Brown] started America’s first black professional theater company in Greenwich Village in 1821….the African Grove, with an all-black company….Its first full-lengthproduction was Richard III.”
“As other productions followed — Othello, some farces and pantomines, and most controversially Brown’s own The Drama of King Shotaway, about a slave rebellion in the Indies — whites began to join blacks in the audience. They didn’t sit in respectful silence. Black actors performing Shakespeare represented to them an amusing novelty. A newspaper from 1822 reports that ‘the audience was generally of a riotous character, and amused themselves by throwing crackers on the stage, and cracking their jokes with the actors.’
“The seating policy at the African Grove, amazingly, instituted reverse segregation: whites were relegated to the back rows because, as a handbill stated, they didn’t know ‘how to conduct themselves at entertainments for ladies and gentlemen of color.’”
Brown closed down the Grove in 1823, but one of the company’s star actors, Ira Aldridge (shown above, in Titus Andronicus) moved to England, “where he became renowned for his Othello, as well as his Hamlet, Macbeth, Lear, and Shylock, the latter roles sometimes performed in whiteface makeup.”
More on “The Village,” by John Strausbaugh](http://24.media.tumblr.com/973dcbe491a97fc20e93c89c71f07815/tumblr_mmhobosbRQ1rbynwco1_500.jpg)
In the 1800s, part of the West Village was known as “Little Africa, or less kindly as Coontown,” writes John Strausbaugh in his fascinating new book “The Village: 400 Years of Beats and Bohemians, Radicals and Rogues, a History of Greenwich Village.”
“Little Africa also drew free blacks and ‘mulattoes’ who’d come to New York from the West Indies. Often better educated and with more skills than the city’s freed slaves, some of them thrived, within the limits imposed on them. One [William Henry Brown] started America’s first black professional theater company in Greenwich Village in 1821….the African Grove, with an all-black company….Its first full-lengthproduction was Richard III.”
“As other productions followed — Othello, some farces and pantomines, and most controversially Brown’s own The Drama of King Shotaway, about a slave rebellion in the Indies — whites began to join blacks in the audience. They didn’t sit in respectful silence. Black actors performing Shakespeare represented to them an amusing novelty. A newspaper from 1822 reports that ‘the audience was generally of a riotous character, and amused themselves by throwing crackers on the stage, and cracking their jokes with the actors.’
“The seating policy at the African Grove, amazingly, instituted reverse segregation: whites were relegated to the back rows because, as a handbill stated, they didn’t know ‘how to conduct themselves at entertainments for ladies and gentlemen of color.’”
Brown closed down the Grove in 1823, but one of the company’s star actors, Ira Aldridge (shown above, in Titus Andronicus) moved to England, “where he became renowned for his Othello, as well as his Hamlet, Macbeth, Lear, and Shylock, the latter roles sometimes performed in whiteface makeup.”
Source: micropolisnyc
Photo reblogged from märƒmεℓℓow with 5,803 notes
Lauryn Hill Ordered by the Court to Undergo “Counseling” Due to her “Conspiracy Theories”
The name of Lauryn Hill’s breakout album was The Miseducation of Lauryn Hill but it now appears that the powers that be would like her to record a new album called The Re-Education of Lauryn Hill. After appearing in court for tax evasion, Hill was sentenced to three months in jail PLUS she must attend “counseling” due to her “conspiracy theories”.
According to the IBTimes, Hill told the court: “I am a child of former slaves who had a system imposed on them. I had an economic system imposed on me.” Furthermore, Hill also believes that artists are being oppressed by (what the article calls) “a plot involving the military and media”. Because of these statements, Hill was ordered to undergo “counseling”, which is a way of saying that she is mentally ill and that she needs some sort of re-programming session regain “sanity”.
In 2012, Hill published a thoughtful letter describing the corruption, the oppression and the control of the music industry and her desire to escape it. In one part of the letter, Lauryn states
“It was this schism and the hypocrisy, violence and social cannibalism it enabled, that I wanted and needed to be freed from, not from art or music, but the suppression/repression and reduction of that art and music to a bottom line alone, without regard for anything else. Over-commercialization and its resulting restrictions and limitations can be very damaging and distorting to the inherent nature of the individual. I Love making art, I Love making music, these are as natural and necessary for me almost as breathing or talking. To be denied the right to pursue it according to my ability, as well as be properly acknowledged and compensated for it, in an attempt to control, is manipulation directed at my most basic rights! These forms of expression, along with others, effectively comprise my free speech! Defending, preserving, and protecting these rights are critically important, especially in a paradigm where veiled racism, sexism, ageism, nepotism, and deliberate economic control are still blatant realities!!!”
(See my article entitled Lauryn Hill’s Tumblr Letter on the Music Business for the full letter).
wow, way to fucking delegitimize and pathologize the experiences of a Black woman by abusing mental health resources and language to avoid the real shit she brings up.
Conspiracy theories because oppression is not real.
its not about being a black woman specifically its about being an unwilling pawn in a machine…this type of treatment occurs for every artist who tries to break bread with record labels, some just accept it or coon their way out of it
this “counseling” is just punishment/embarrassment for speaking the truth in public…. now the sheep can laugh at her and make more “crazy” jokes
She sounds very sane to me.
Source: tranqualizer
Quote reblogged from märƒmεℓℓow with 1,673 notes
Since the notion that we should all forsake attachment to race and/or cultural identity and be ‘just humans’ within the framework of white supremacy has usually meant that subordinate groups must surrender their identities, beliefs, values, and assimilate by adopting the values and beliefs of privileged-class whites, rather than promoting racial harmony this thinking has created a fierce cultural protectionism.
Source: sinidentidades
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